British Art in the Twentieth Century: The Modern Movement. Royal Academy of Arts, 15 January to 5 April 1987

1987 ◽  
Vol 6 (2) ◽  
pp. 231-239
Keyword(s):  
Twentieth Century ◽  
Royal Academy ◽  
British Art ◽  
Modern Movement

Axioms of Ecumenical History

1972 ◽  
Vol 28 (4) ◽  
pp. 439-450
Author(s):  
Henry P. Van Dusen
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Christian Fellowship ◽  
Underlying Causes ◽  
Christian Unity ◽  
Modern Movement

“Up to the eve of the nineteenth century, hardly a single organized Christian fellowship existed, let alone organization across denominational lines; in contrast, at mid-point in the twentieth century, there are thousands of vigorously functioning agencies of trans-denominational collaboration. In these latter days, the practice of Christians with respect to the unity of Christ's church has begun to accord with their profession. How can we account for this newness, the novelty of the modern movement of Christian unity? What are the underlying causes, the explanation of this amazing, wholly unprecedented reversal of previous practice?”

“An Extraordinary Feeling for Ornament”: Elena Polenova and the Neo-Russian Style in Embroideries and Painted Textile Panels

Experiment ◽  
2016 ◽  
Vol 22 (1) ◽  
pp. 53-71
Author(s):  
Louise Hardiman
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Important Process ◽  
Russian Art ◽  
British Art ◽  
National Movement ◽  
Early Twentieth Century ◽  
Late Nineteenth

This article examines several important designs by Elena Dmitrievna Polenova (1850-1898) for art embroideries and textile panels. These are the least studied of Polenova’s works, but offer new insights into the artist’s role as a leader of the neo-national movement in late nineteenth-century and early twentieth-century Russian art. Linking extant designs with photographs of exhibition displays and unpublished archival sources, including contemporary accounts by the British art journalist Netta Peacock (1864-1938), this project seeks to initiate the important process of identifying and analysing Polenova’s designs within the context of the movement.

British Art History and the Royal Academy

2008 ◽  
Vol 31 (2) ◽  
pp. 292-294
Author(s):  
J. Bonehill
Keyword(s):  
Art History ◽  
Royal Academy ◽  
British Art

Cardew, Cornelius (1936–1981)

2018 ◽  
Author(s):  
Edward Venn
Keyword(s):  
Twentieth Century ◽  
Royal Academy ◽  
Experimental Music ◽  
Piano Sonata ◽  
Avant Garde ◽  
Musical Education ◽  
Political Activist ◽  
Hit And Run ◽  
The 1960S ◽  
The Relationship

Cornelius Cardew was a leading figure in British experimental music in the 1960s and a committed political activist in the 1970s. His earlier music, particularly that inspired by Cage, demonstrates on going concerns with the relationship between composer and performer, not least in the emphasis placed on improvisation. His later politically motivated music abandoned avant-garde and experimental principles in favor of a direct, tonal idiom. He died after a hit-and-run incident in East London. Cardew’s musical education was conventional; first as a boy chorister at Canterbury Cathedral (1943–50) and then at the Royal Academy of Music (1953–57). He had a philosophical nature too, apparent in his enduring fascination with Wittgenstein’s Tractutus. Cardew familiarized himself early on with early-twentieth-century serialism and increasingly with the continental avant-garde: at nineteen, he gave (together with fellow student Richard Rodney Bennet) the London premiere of Pierre Boulez’s Structures I and taught himself guitar in order to participate in the 1957 London premiere of LeMarteau Sans Maître. Many of Cardew’s compositions of this era reflected such interests, as in his Piano Sonata No. 2 (1956).

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